ED MOSES Whiplines, Waterfalls and Worms

MALAT JD GALLERY ED MOSES Whiplines, Waterfalls and Worms

MALAT JD GALLERY “Painting is like discovery, trying this, trying that, bending this, twirling that, and then every once in a while it goes bing!” – Ed Moses

2 ED MOSES Whiplines, Waterfalls and Worms

One day, in the summer of 1970, as Ed Moses and Riko Mizuno stood talking about his upcoming Almost a decade later, Moses made several monochrome drawings and watercolours that second exhibition at her gallery on La Cienega Boulevard, Los Angeles, the diminutive Japanese seem to revisit the days he had spent staring at light in Mizuno’s gallery. For much of the gallerist described the repair work that needed to be done to the building’s roof. When he 1970’s, Moses had been working on his densely layered Grid and Cubist paintings, using a large heard this, Moses made a decision that would not only become part of the folklore of Los set square to build up a complex space of intersecting, overlapping and criss-crossed ruled Angeles art but would have a profound influence on the future direction of his work. Turning lines that pulls the eye into the intricate layers of an interlocking visual vortex. Although these to Mizuno, Moses said that for his next show he wanted to take out the gallery ceiling and minimalist works on paper clearly develop these paintings, their reduction to a single layer remove part of the roof. The only thing present in the gallery, apart from some rolls of canvas of parallel lines that are sometimes diagonal, sometimes vertical and occasionally horizontal, at the entrance and large unpainted panels on the walls and floor, would be the daylight falling focuses our attention on the relationship of mark and surface and allows the diagonal light through the exposed rafters into the space below. patterns we see in the photographs of the 1970 show to re-emerge. This was not a surprising move. For the 44-year-old artist, who until then had largely been Moses had wanted these drawings to achieve a minimalist purity that would eliminate the known for his semi abstract ‘boudoir’ paintings and obsessively worked graphite drawings, artist’s presence and represent nothing more than a line on a surface, but his freely drawn was also fascinated by Architecture. In the mid-1960’s Moses had taken time away from the diagonal lines do the opposite, their stuttering, organic flow emphatically tracing the passage studio to renovate and rebuild a house on Mabery Rd, Santa Monica. But as he reconfigured of the artist’s arm across the paper, turning an anonymous line into an embodied mark. As we the building’s original layout, what had started out as an architectural project turned into follow these shuddering streaks of inky light across the surface and find ourselves caught in the something more artistic, as he pursued his intuitive creative urges as much as any pre-existing interplay of line and space and the emphatic contrast between black and white, daylight seems plans. On a whim he had punched openings through newly constructed walls to make windows, to dance across the paper, with the shafts of light falling into Mizuno’s gallery translated into a changed layouts and introduced new elements even when everything seemed apparently series of painterly marks that seem to trace the insistent passage of the moving sun. finished. Perhaps unsurprisingly, when Moses had his first exhibition with Mizuno in 1969, he had presented a series of ‘pop-up’ prints whose three-dimensional geometric forms had clear Although they have both an aesthetic beauty, and an historical significance as records of an architectural references, and now, as he pulled up the tar paper on the roof and exposed the important exhibition, the photographs taken of the Mizuno installation fail to represent the true rafters to the daylight and the viewer’s gaze, he seemed to be translating this fascination with nature of the experience. They can only show the light caught in a static pattern, held captive architectural structures onto the grand scale. by the space between the laths. But for Moses and other visitors standing in the space the experience would have been more fluid and dynamic, as the light moved, and these apparently A series of silvery toned black and white photographs, showing the artist framed in a doorway, hard-edged patterns shifted and dissolved. The late 1970’s drawings seem to recreate this capture the ephemeral nature of Moses’s 1970 exhibition. Around him daylight daubs the experience, contrasting the controlled, static structure of the parallel lines with the implicit walls and floor with the simple diagonal grid determined by the unseen rafters. Moses was movement of splattered and sprayed droplets of ink or blurred puddles of diffuse paint. The fascinated by this play of light, constantly returning to the gallery at different times of the boundaries of the grid have been overwhelmed with an ecstatic abandon, as if rice flour has day to see the changing patterns and effects as the sun moved or the sky became overcast. been thrown across the picture surface to capture the passage of invisible light. Occasionally he would throw rice flour into the air to reveal to visitors the passage of light falling through the space. For those who saw the show during its short two week run, Moses’s bold For a long time, Moses had been drawn to the work of Piet Mondrian and Jackson Pollock, move seemed to be a direct response to the emerging Light and Space movement that many with their contrasting positions between structure and freedom, stasis and movement, the of his closest friends and fellow members of the Ferus Gallery ‘cool school’ were beginning anonymous grid and gestural expression. In the Mizuno exhibition and then in his drawings to shape. Influenced in part by the work of John McLaughlin, whose minimal large canvases of the late 1970’s, Moses brought the two together, disrupting control with playfulness while had become pared down to bands of colour, artists such as Craig Kaufmann, Robert Irwin, underpinning chaos with order. The Whipline paintings of the early 2000’s, however, seem to Larry Bell and James Turrell, were rejecting traditional forms of painting for new materials and offer a purer expression of this creative dynamic. Curving, calligraphic lines suggest the artist’s spatial installations that allowed them to work with natural phenomena and focus on subtle movement, a tracer pattern of dribbles, spots and fluid lines tracking the arcing passage of perceptual shifts. Moses’ paint brush moving through space. Sometimes background blocks of solid colour cut across or underpin the wandering ecstasy of these whiplines, sometimes the line itself creates a net to hold down and prevent the amorphous flow of the background from escaping. Yet whether they provide moments of expressive freedom or an imposition of structure, there is nothing really spontaneous about these fluid marks, for like much of Moses’s work they emerged out of a process that demanded control, and in this case patience. He made the initial lines with thick viscous paint knowing that it would dry faster at the edges of the lines where it was thinner than in the centre where it was thicker. He then waited for that precise moment when the edge was dry yet the centre was still wet, before washing down the whole canvas to leave behind only the dried edges and any encrusted splatters of paint. Moses would explore and exploit this creative interplay for the next forty years. Using squeegees, house brushes, snaplines, spray paint, small brushes, decorators brushes, anything in fact that would allow him to place one mark on top of another, he built up anonymous patterns and left embodied marks, created structure and suggested organic flow. In the Crackle paintings he even used his fist, repetitively punching the canvas to create a grid of indented roses that transformed the monochrome surface into a radiating spiderweb of tiny interconnected lines. But structure and freedom, order and chaos, are only ever revealed through the mark. Where his contemporaries pursued perception, exploited new materials, repurposed popular culture, adapted graphic design, or fetishized finish, Moses was obsessed with the mark. Marks can be a sign of human control, but as his waterfall paintings demonstrate, when embodied gestures are combined with chance and circumstance they can also lead to the freedom of unforeseen colour effects. In these dramatic waterfalls Moses was again seeking an anonymous form, wanting the viewer to see nothing more than the mark lying before us, a moment of unplanned chance, urging us not to think about meaning but to follow the movement of the artist’s arm and to taste the smeared colours with the tongue of our eye, savouring the mingled, swirling eddies of unexpected colour combinations, whether sweet and sour, vibrant and dull or hot and cold. In later life, Moses would tell the story of how he decided to become a painter, recounting not only been a physical, embodied declaration, ‘I was here’, but had allowed order to emerge how in his first class with his Long Beach City College art teacher, Pedro Miller, he was asked from chaos. Throughout his life, Moses was terrified of death and the void, but as his simplest to paint a still life. As Miller approached, Moses realised he had nothing on the paper so he marks wormed their way across a surface or fell in a waterfall of liquid light, he too was able to stuck his fingers in the paint pot and drew with his fingers. When Miller saw Moses’s work, reach into the formless void, draw order, form and physical presence from formless chaos and he turned to the class and said, ‘now here’s an artist.’ Whether this really happened or not, declare, ‘I was here’. does not matter. What it does is capture the significance for Moses of that elemental act of making a mark. When he visited the caves at Lascaux in the 1990’s with Frank Gehry, he felt a deep connection with those prehistoric artists who had ventured into the darkness with spit Dr Richard Davey and pigment. With their hands they had made simple patterns and evocative animals that had

7 Spot, II, 2015

Acrylic on canvas 72 x 60 in 182.9 x 152.4 cm

8 9 Spot IV, 2015

Acrylic on canvas 72 x 60 in 182.9 x 152.4 cm

10 11 Go Green Wip on Eild, 2008

Acrylic on canvas 72 x 60 in 182.9 x 152.4 cm

12 13 Fulcrum, 2003

Acrylic on canvas 66 x 108 in 167.6 x 274.3 cm

14 15 Yenoh, 2004

Acrylic on canvas 72 x 60 in 182.9 x 152.4 cm

16 17 Samba, 2008

Acrylic on canvas 72 x 60 in 182.9 x 152.4 cm

18 19 Dappel, 2008

Acrylic on canvas 96 x 60 in 243.8 x 152.4 cm

20 21 Edward #2, 2008

Acrylic on canvas 96 x 60 in 243.8 x 152.4 cm

22 23 Apt & Platt, 2007

Acrylic on canvas 72 x 120 in 182.8 x 304.8 cm

24 25 Llits-W, 2007 Tcefrep, 2007

Acrylic on canvas Acrylic on canvas 96 x 78 in 96 x 78 in 26 243.8 x 198.1 cm 243.8 x 198.1 cm 27 Llits-W and Tcefrep, 2007

Acrylic on canvas 96 x 156 in 243.8 x 396.2 cm

28 29 Arm, 2009

Acrylic on canvas 84 x 54 in 213.4 x 137.2 cm

30 31 Popfr-Aix, c.2000

Acrylic on canvas 78 x 65 5/8 in 198.1 x 166.7 cm

32 33 Ocnaf, 2008

Acrylic on canvas 60 x 48 in 152.4 x 121.9 cm

34 35 Jim Snydell #5, 2008

Acrylic on canvas 60 x 94 in 152.4 x 238.8 cm

36 37 Trip, 2008

Acrylic on canvas 72 x 42 in 182.9 x 106.7 cm

38 39 Tlaloc #4, 1989

Oil & acrylic on canvas 90 x 60 in 228.6 x 152.4 cm

40 41 Mor #1, 2014

Acrylic on canvas 72 x 60 in 182.9 x 152.4 cm

42 43 In Space What’s Up, 1988

Oil & acrylic on canvas 78 x 66 in 198.1 x 167.6 cm

44 45 China #3, 2014

Acrylic on canvas 42 x 84 in 106.7 x 213.4 cm

46 47 White Over-B, 2012

Mixed media on canvas 66 x 54 in 167.6 x 137.2 cm

48 49 “Moses was fascinated by this play of light, constantly returning to the gallery at different times of the day to see the changing patterns and effects as the sun moved or the sky became overcast. Occasionally he would throw rice flour into the air to reveal to visitors the passage of light falling through the space.” Untitled, 1979 Untitled, 1978

Ink & graphite on paper Watercolor on paper 10 3/4 x 13 1/4 in 16 x 12 in 27.3 x 33.7 cm 40.6 x 30.5 cm 50 51 Untitled, 1973 Cuatro Porto, 2002 Acrylic, tape, resin & coloured Acrylic on canvas pencil on 2 layers of tissue 71 7/8 x 60 1/8 in 29 3/4 x 24 in 182.7 x 152.5 cm 75.6 x 61 cm 52 53 !

Ed Moses CV 2009 Mutator, Frank Lloyd Gallery, 2009 Mutator, Greenfield Sacks Gallery, 2002 Crocker Plaza Installation, San 2001 Abstraction: Ed Moses and Rana 1991 L.A. Louver, Venice, California 1991 Louver Gallery, New York 1926-2018 - Long Beach, California, USA. Santa Monica, California Santa Monica, California Francisco, California Rochat, Gallery of Contemporary Art, Lewis & Clark College, 1990 L.A. Louver, Venice, California 1990 Ed Moses: Prints, Santa Monica Portland, Oregon 2008 Ed Moses: No Works, Seiler + 2008 Ed Moses: Paintings, Frank Lloyd Heritage Museum, Santa Monica, Mosseri-Marlio Galerie AG, Gallery, Santa Monica, California California 2001 Ed Moses 2000-2001 works on 2001 Ed Moses and John Chamberlain, L Selected Exhibitions Zurich paper, Bobbie Greenfield Gallery, A Louver Gallery, Venice, 1989 Louver Gallery, New York 1989 Gallery Kukje, Seoul, Korea Santa Monica, California California 2007 Mapiko: Musings from A-Far, 2007 Ed Moses: Past Here and Now, 2018 Last Grids, Brian Gross Fine Art, 2018 Ed Moses: Diamond Jim, Albertz Ernie Wolfe Gallery, Los Robert Green Fine Art, Mill 1989 Galerie Georges Lavrov, Paris, 1989 Ed Moses: Recent Paintings, L.A. San Francisco, California Benda, New York, NY Angeles, California Valley, California 2001 Apparition & Abstraction, Klein 2000 Oh Ed and Bjork, Imago Galleries, France Louver, Venice, California Art Works, Chicago, Illinois Palm Desert, California 2016 First, look at the paintings. Then 2016 Moses@90, William Turner 1989 Ed Moses: Works on Paper, L.A. 1987 L. A. Louver, Venice, California 2007 Ed Moses: Primal and Primary 2007 Frank Lloyd Gallery, Santa we’ll shoot the shit. Gallery, Santa Monica, California 2000 Brian Gross Fine Art, San 2000 Peter Blake Gallery, Laguna Louver, Venice, California Paintings 1975, Charlotte Jackson Monica, California Francisco, California Beach, California Blain|Southern London, UK Fine Art, Santa Fe, New Mexico 1987 Pence Gallery, Santa Monica, 1986 Gilbert Brownstone and Cie, 2000 Nicole Klagsbrun, New York 1999 L A Louver Gallery, Venice, 2016 La-San Francisco, Brian Gross 2016 Ed Moses: painting as process, California Paris, France 2007 Bobbie Greenfield Gallery, Santa 2006 Ed Moses: New Paintings, Brian California Fine Art, San Francisco, Albertz Benda, New York, NY Monica, California Gross Fine Art, San Francisco, 1986 The Works Gallery, Long Beach, 1986 School of Fine Arts, Gallery B, California California 1999 Vision Usher, Brian Gross Fine 1998 Peter Blake Gallery, Laguna California California State University, Long Art, San Francisco, California Beach, California 2015 Ed Moses: Drawings from the 1960s 2014 Ed Moses: Cross-Section, University 2006 Ed Moses: Tapestries and Paintings, 2006 Ed Moses: New Works, Bernard Beach, California and 1970s, Los Angeles County Art Gallery, UC Irvine, California Bobbie Greenfield Gallery, Santa Jacobson Gallery, London 1998 Brian Gross Fine Art, San 1998 Hemphill Fine Arts, Washington, L. A. Louver, Venice, California 1984 Larry Gagosian Gallery, Los Museum of Art, US 1985 Monica, California Francisco, California D.C. Angeles, California 2014 The Language of Paint: Selected 2014 Ed Moses, Peter Blake Gallery, 2006 Ed Moses: the Dune Series, 2006 Monochrome Paintings 1975-1976, 1998 Ec-topic: Drawings, 1998, Bobbie 1997 New Paintings and Works on Paper, Works, William Turner Gallery Laguna Beach, California 1983 Bernard Jacobson Gallery, Ltd., 1983 Dorothy Rosenthal Gallery, Jacobson Howard Gallery, New Margo Leavin Gallery, Los Greenfield Gallery, Santa Barbara Davis Gallery, Houston, Los Angeles, California Chicago, Illinois Santa Monica, California York Angeles, California Monica, California Texas 1982 Smith Anderson Gallery, Palo 1982 Janus Gallery, Los Angeles, 2013 Yesterday’s Tomorrow, Brian 2013 Green/Bronze, Charlotte Jackson 1997 Up Against the Wall, L.A. Louver, 1996 A Retrospective of the Paintings and 2005 Paintings, Robert Green Fine 2005 The Jabberwock, Imago Galleries, Alto, California California Gross Fine Art, San Francisco, Fine Art, Santa Fe, New Mexico Arts, Mill Valley, California Palm Desert, California Venice, California Drawings, 1951-1996 California 1982 Dorothy Rosenthal Gallery, 1981 James Corcoran Gallery, Los 1996 The Museum of Contemporary Art, 1996 Elpoep Ebolg, L.A. Louver, Venice, 2004 Pinned-Up 1974/2004, Bobbie 2004 Ed Moses and Jimi Gleason, Chicago, Illinois Angeles, California 2013 A Stone Mirror Reversed, Leslie 2013 Ed Moses, galleri s.e, Bergen, NO Greenfield Gallery, Santa Huntington Beach Art Center, Los Angeles, California California Sacks Contemporary Santa Monica, California California 1981 Janus Gallery, Los Angeles, 1980 James Corcoran Gallery, Los California Angeles, California Monica, California 1996 At 70 from the 70’s, Bobbie 1995 Paint, L.A. Louver, Venice, 2004 Otherwise: New Paintings, Brian 2004 Robert Green Fine Arts, Mill Greenfield Gallery, Santa California 1980 Riko Mizuno Gallery, Los 1980 High Museum of Art, Atlanta, GA 2012 New Works: The Crackle Paintings, 2012 Ed Moses: Notions, Mark Borghi Gross Fine Art, San Francisco, Valley, California Monica, California Patrick Painter Inc. Santa Fine Art, Bridgehampton, New California Angeles, California (commissioned wall painting: 22’ Monica, California York x 52’, entrance to Museum) 1994 Recent Paintings, L.A. Louver, 1993 Structural Reoccurrence & Cloud 2004 Cross-Cut, Christopher Grimes 2003 Criss-Cross, Imago Galleries, Palm Venice, California Cover Paintings 80’s & 90’s, Sharon 2012 Garden of Forking Tongues 2011 Shatterheads and Gwynn, Ernie 1979 Texas Gallery, Houston, Texas 1979 Sidney Janis Gallery, New York Gallery, Santa Monica, California Desert, California Truax Fine Art, Venice, California (BifurUSted), Ace Gallery, Los Wolfe Gallery, Los Angeles, Angeles, California California 2003 L A Louver Gallery, Venice, 2003 DoubleVision, DoubleVision 1979 James Corcoran Gallery, Los 1978 Texas Gallery, Houston, Texas 1993 Denis Ochi Gallery, Sun Valley, 1993 Apparition and What, Louver Angeles, California California Gallery, Los Angeles, California Idaho Gallery New York 2011 ASAP & Friends, Charlotte 2011 Through the Looking Glass with Ed 2002 Cobra, Imago Galleries, Palm 2002 Broken Roja, Klein Artworks, 1978 Smith-Anderson Gallery, Palo 1978 Margo Leavin Gallery, Los Jackson Fine Art, Santa Fe, New Moses, Art link, Seoul, KR 1993 Desert, California Chicago, Illinois Recent Paintings and Drawings, 1993 Ed Moses; Paintings and Drawings, Alto, California Angeles, California Mexico lite, Imago Galleries, L.A. Louver, Venice, California Davis/McClain Gallery, Houston, Palm Desert, California 2002 Recent Paintings, Brian Gross Fine 2002 L A Louver Gallery, Venice, Texas 1978 Municipal Art Gallery, 1978 Dory Gates Gallery, Kansas City, Davenport, Indiana Missouri 2010 Frank Lloyd Gallery, Santa 2010 Greenfield Sacks Gallery, Santa Art, San Francisco, California California 1992 Apparitions and What: Works on 1992 Zolla/Lieberman Gallery Inc, Monica, California Monica, California Paper, L.A. Louver, Venice, Chicago, Illinois 1977 Margo Leavin Gallery, Los 1977 Daniel Weinberg Gallery, San California Angeles, California Francisco, California

JD Malat Gallery JD Malat Gallery JD Malat Gallery 30 Davies St, Mayfair, 30 Davies St, Mayfair, 30 Davies St, Mayfair, London W1K 4NB London W1K 4NB London W1K 4NB +44 20 3746 6830! +44 20 3746 6830! +44 20 3746 6830!

54 55 1959 Ferus Gallery, Los Angeles, 1959 Dilexi Gallery, San Francisco, California California 1958 Ferus Gallery, Los Angeles, 1958 Dilexi Gallery, San Francisco, California California

1977 Casat Gallery, La Jolla, California 1977 Dorothy Rosenthal Gallery, Public Collections Chicago, Illinois 1976 Los Angeles County Museum of 1976 Nicholas Wilder Gallery, Los Albright-Knox Gallery, Buffalo, NY Art, Los Angeles, California Angeles, California Akron Art Museum, Akron, OH 1976 20 Years of Drawing, Frederick S. 1975 Andre’ Emmerich Gallery, New Art Institute of Chicago, Chicago, IL Wight Gallery, University of York California, Los Angeles, Berkeley Art Museum, University of California, Berkeley, C California Butler Art Institute of American Art, Youngstown, OH 1975 Dory Gates Gallery, Kansas City, 1974 Andre’ Emmerich Gallery, New Cincinnati Museum of Art, Cincinnati, OH Missouri York Corcoran Gallery of Art, Washington, DC 1974 Felicity Samuel Gallery, London, 1974 Art in Progress Gallery, Munich, Dartmouth College Gallery, Hanover, NH England Germany Denver Art Museum, Denver, C 1974 Hansen-Fuller Gallery, San 1973 Art in Progress Gallery, Zurich, CU Art Museum, University of Colorado Boulder, CO Francisco, California Switzerland Hammer Museum, Los Angeles, CA 1973 Dayton’s Gallery 12, 1973 Nicholas Wilder Gallery, Los Minneapolis, Minnesota Angeles, California Hirshhorn Museum and Sculpture Garden, Washington, DC Irvine Collection, Irvine, CA 1973 Ronald Feldman Fine Arts, Inc., 1973 Portland Center for the Visual New York Arts, Portland, Oregon Janss Foundation, Thousand Oaks, CA Lannan Foundation, Santa Fe, NM 1972 Nicholas Wilder Gallery, Los 1972 Ronald Feldman Fine Arts, Inc., Angeles, California New York Long Beach Museum of Art, Long Beach, CA 1972 Felicity Samuel Gallery, London, 1972 Dayton’s Gallery 12, Minneapolis, Los Angeles County Museum of Art, Los Angeles, CA England Minnesota Lowe Art Museum, University of Miami, Miami, FL 1972 Ronald Feldman Fine Arts, Inc., 1972 Hansen-Fuller Gallery, San Menil Foundation, Rice University Art Gallery Houston, TX New York Francisco, California Minneapolis Institute of Art 1972 Pomona College Art Gallery, 1971 Riko Mizuno Gallery, Los Musee national d’art moderne – Centre Georges Pompidou, Paris, France Pomona, California Angeles, California Museum of Contemporary Art, Los Angeles, CA 1970 Riko Mizuno Gallery, Los 1969 Riko Mizuno Gallery, Los Museum of Contemporary Art San Diego, La Jolla, CA Angeles, California Angeles, California Museum of Modern Art, New York, NY 1965 Everett Ellen Gallery, Los 1964 Ferus Gallery, Los Angeles, Angeles, California California National Museum of American Art, Smithsonian Institution, Washington, DC Neuberger Museum of Art, Purchase, NY 1963 Ferus Gallery, Los Angeles, 1962 Alan Gallery, New York California New Mexico Museum of Art, Santa Fe, NM Norton Simon Museum, Pasadena, CA 1961 Ferus Gallery, Los Angeles, 1961 Dilexi Gallery, San Francisco, JD Malat Gallery California California Oakland Museum of California, Oakland,30 Davies SCAt, M ayfair, Orange County Museum of Art, NewportLondon WBeach,1K 4N CAB 1960 Dilexi Gallery, San Francisco, 1959 Area Gallery (10th Street Co-op), +44 20 3746 6830! California New York Palm Springs Desert Museum, Palm Springs, CA 1959 Ferus Gallery, Los Angeles, 1959 Dilexi Gallery, San Francisco, Philadelphia Museum of Art, Philadelphia, PA California California Prudential Insurance Company, Newark, NJ

1958 Ferus Gallery, Los Angeles,J D Malat 1958Galle ryDilexi Gallery, San Francisco, San Francisco Museum of Modern Art, San Francisco, CA California 30 Davies St, MayfaCaliforniair, London W1K 4NB Seattle Museum of Art, Seattle, WA

+44 20 3746 6830! Spencer Museum of Art, University of Kansas, Lawrence, KS

The Broad Art Foundation, Santa Monica, CA Public Collections Walker Art Center, Minneapolis, MN

Frederick R. Weisman Art Foundation, Los Angeles, CA Albright-Knox Gallery, Buffalo, NY Whitney Museum of American Art, New York, NY Akron Art Museum, Akron, OH Yale University Art Gallery, New Haven, CT Art Institute of Chicago, Chicago, IL

Berkeley Art Museum, University of California, Berkeley, C Butler Art Institute of American Art, Youngstown, OH Cincinnati Museum of Art, Cincinnati, OH 56 Corcoran Gallery of Art, Washington, DC Dartmouth College Gallery, Hanover, NH Denver Art Museum, Denver, C CU Art Museum, University of Colorado Boulder, CO Hammer Museum, Los Angeles, CA Hirshhorn Museum and Sculpture Garden, Washington, DC Irvine Collection, Irvine, CA Janss Foundation, Thousand Oaks, CA Lannan Foundation, Santa Fe, NM Long Beach Museum of Art, Long Beach, CA Los Angeles County Museum of Art, Los Angeles, CA Lowe Art Museum, University of Miami, Miami, FL Menil Foundation, Rice University Art Gallery Houston, TX Minneapolis Institute of Art Musee national d’art moderne – Centre Georges Pompidou, Paris, France Museum of Contemporary Art, Los Angeles, CA Museum of Contemporary Art San Diego, La Jolla, CA Museum of Modern Art, New York, NY JD Malat Gallery 30 Davies Street, Mayfair, National Museum of American Art, Smithsonian Institution, Washington, DC W1K 4NB Neuberger Museum of Art, Purchase, NY +44 20 3746 6830 New Mexico Museum of Art, Santa Fe, NM

JD Malat Gallery 30 Davies St, Mayfair, London W1K 4NB +44 20 3746 6830! Popfr-Aix, c.2000

Acrylic on canvas 78 x 65 5/8 in 198.1 x 166.7 cm

58 Special Thanks: Victoria Aboucaya Rafael Barros Jean-David Malat Richard Morrissey Annie Pereira Ed Moses Studio

Revd Dr Richard Davey is a Senior Research Fellow, Historical and Critical Studies in the Department of Visual Arts at Nottingham Trent University. He is currently writing the forthcoming book, Ed Moses, Beyond the Myth, to be published by Beam Editions, Nottingham.

Images courtesy of Ed Moses Studio [email protected]

30 Davies Street, London W1K 4NB + 44 203 746 68 30 www.jdmalat.com